Review Summary: “Just a few honest words” from a heartfelt musician
Honesty: it is the highest praise one can bestow upon a work of art. A true masterpiece is a reflection of the artist, offering a window into the mind and soul of its creator. No word encapsulates Learning to Bend, the 2008 debut from folk musician Ben Sollee, so perfectly as “honesty.” Sollee, a Kentucky native, is a classically trained cellist raised on the likes of Billie Holiday, Otis Redding, and Ray Charles. He cut his teeth playing bluegrass, and has collaborated with Abigail Washburn, Bela Fleck, and My Morning Jacket. This range of musical influences is on full display on Learning to Bend, as elements of jazz, folk, classical, country, and soul effortlessly mingle to present a truly beautiful soundscape and a genuine portrait of the man behind it.
Sollee’s commitment to truth, in art and in life, is apparent from on the album’s opening track, “A Few Honest Words,” in which Sollee proclaims, “If you’re going to lead my country / if you’re gonna say it’s free / I’m gonna need / a little honesty.” For his part, Sollee has never been afraid to speak out. A shameless environmentalist who often foregoes a tour bus for a bicycle specially retrofitted to carry his cello, Sollee is known to passionately speak out regarding mountaintop removal and coal mining, among other issues. Sollee’s love for the Eastern United States' sweeping majesty (a testament to his Kentucky upbringing) presents itself through his masterful arranging. Absent are electronically produced instruments filling every facet of space. Instead, Sollee opts for the natural, open landscapes evoked by his cello and other acoustic strings. A prime example is “Bend”, which begins sparsely with soft, poetic lyrics accompanied by gentle plucking, then transitions to a chorus that pairs a two-part vocal harmony with Debussy-esque classical strings. The stripped back acoustic arrangements on Learning to Bend evoke the Appalachian landscapes of Sollee’s upbringing; the trickling creeks, rustling trees, and winds blowing gently down the hills, can practically be heard in the album’s soft, open spaces. In fact, the strongest facet of Sollee’s musicianship is his ability to seamlessly arrange a wealth of musical influences into coherent and beautiful songs. “It’s Not Impossible”, a lively examination of male emotionality, layers a jazzy sax line over bluegrass-style guitar picking to produce the most fun track on the album. “How to See the Sun Rise” finds Sollee at his most soulful, singing a throwback R&B-style vocal while a jazz bass and his cello hold the rhythm. Sollee’s affinity for soul music and political activism climax on “A Change is Gonna Come”, a reinterpretation of the Sam Cooke classic, where a funky cello (two words rarely used synonymously) is paired with new lyrics in a heartfelt plea condemning war and violence.
The album’s most beautiful moments are often the quietest. “Panning For Gold”, a solemn lament on transformation, showcases Sollee’s knack for poetic lyricism. Lines like “I saw God by the river panning for gold / I saw God by the river weary and old / He said, ‘Son I used to know where I put things’” epitomize Sollee’s ability to paint profound pictures with simple imagery. Learning to Bend closes with “Copper and Malachite”, a dreamlike waltz about love and hope. The song plays like a lullaby gently rocking the album to a peaceful conclusion. These quiet moments are ultimately the most sincere. Through them we see the true Ben Sollee: a musician using his gift to unearth the honest beauty sleeping beneath the surface.
